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REVIEW LIED
Reviews 2014 - 2018
Dichterliebe - Lörrach 2018
Winterreise - Vienna 2018
Winterreise - Vienna 2017
Die Oper küsst das Lied - Lörrach 2017
Die Oper küsst das Musical - Lörrach 2016
DICHTERLIEBE & LIEDER EINES FAHRENDEN GESELLEN, Lörrach , BRD - 2018
Blissfulness and pain of love were expressed in all emotional aspects at the song recital by Thomas Weinhappel in the Hebelsaal of the Dreiländermuseum.Blissfulness and pain of love were expressed in all emotional aspects at the song recital by Thomas Weinhappel in the Hebelsaal of the Dreiländermuseum.In Schumann's cycle "Dichterliebe" and Mahler's "Lieder eines fahrenden Gesellen", the singer, accompanied by Istvan Bonyhadi, experienced all phases and emotional states, from the intoxicating euphoria of falling in love, from a spring mood, affectionately blossoming sound poetry to dramatic emotional outbursts and the melancholy and despair of the unfortunate lover.
In Schumann's Dichterliebe, Weinhappel was able to "push the winter a little bit away" as he called it. He maneged that with a springlike upswing in the first song "Im wunderschönen Monat Mai". His singing expressed a romantic feeling, he sang the more tender flower songs with a smooth baritone voice and a lyrical, warm timbre, the exuberance of the emotions he brought to the effect just as much as the raptured, the dream lost in "Ich hab’ im Traum geweinet", the vehement emotional outbursts in "Ich grolle nicht" and the abysmal and concentrated drama in "Die alten, bösen Lieder".
With his tried and tested piano partner he pictured impressively in the second part Mahler's "Lieder eines fahrenden Gesellen", in which the unfortunate, unrequited love, pain, longing and despair are reflected. ...
On Sunday, Weinhappel told the visitors that he loves to return to Lörrach. To him it is wonderful that he has got such a loyal and interested audience here. No matter whether he sings opera, operetta, humorous, Viennese or difficult song literature such as Schubert's "Winterreise" or now Schumann's "Dichterliebe", the audience always comes a large number. He appreciates and enjoys this very much.On Sunday, Weinhappel told the visitors that he loves to return to Lörrach. To him it is wonderful that he has got such a loyal and interested audience here. No matter whether he sings opera, operetta, humorous, Viennese or difficult song literature such as Schubert's "Winterreise" or now Schumann's "Dichterliebe", the audience always comes a large number. He appreciates and enjoys this very much.Even if he works as a proven opera singer at great stages, the genre of the lied is important to him. Especially this "most intimate form of music", the lyrical moments in song singing are close to his heart. A singing without trappings, without costumes, without scenery, without great gestures as on the opera stage, this touched him very much. It is also important and beneficial for the voice, if you perform recitals between major opera roles in which you have to "step on the gas" so that you can lead the voice in sensitive piano tones.«
Badische Zeitung, 7.3.2018, Roswitha Frey, Photo © Roswitha Frey
»Able to transform from the melting love song to dramatic outbursts in the songs full of pain and suffering, he made Schumann's music vivid. His piano accompanist Istvan Bonyhadi like the singer has a wide range of expressive possibilities and made the music enjoyment perfect. In the broad artistic spectrum of the love song like „Im wunderschönen Monat Mai“ or „Hör ich das Liedchen klingen“ especially murmuring singing is required. Dramatic sounds are then demanded in the songs „Ich grolle nicht“ or „Aus alten Märchen“. Here Weinhappel beamed with his great operatic voice, which pervaded the Hebelsaal.«Die Oberbadische, 5.3.2018, Gottfried Driesch
WINTERREISE, Vienna - 2018
»The "Winterreise" by Franz Schubert - probably one of the most poignant song cycles in which every singer dabble in.
But well, Thomas Weinhappel did not make any attempts: With his noble, technically accurate baritone voice he does not only offer the audience a narrative of the story of the abandoned young man; he undergoes it at every moment and lets the audience participate in this musical glimpse in a soul.
To "understand" a person has a double meaning: only acoustic understanding enables emotional understanding. What sounds so easy, must be emphasized here: Weinhappel's clear pronunciation provided the audience with a solid foundation for empathy for this lonely walker. With his diverse vocal facets he also achieved a deeply touching expression of his desperation, his outbursts of rage, his sadness.
When "he always hears that he finds peace there," the timbre of his piano leaves no doubt which place 'there' may be. Some cleverly used "white" tones reflect the faint mood of the walker.
Those who have dealt more intensively with the Winterreise, know the enormous range of the voice which is necessary. Weinhappel convinces with outstanding high-pitched tones, but above all his deep register is awesome; for instance when the the "deep gorges" are used as a symbol for the depths of the soul. Through these dense, earthy tones, these abysses gain "frightening substance" (in the psychological sense).
Weinhappel has dealt very precisely with the Winterreise, he discovered facets which one couldn’t hear often in this way - and thanks to his technique he manages to implement these nuances magnificently.He ist he one, who bringst he story close to the people; but especially in a cycle like “Winterreise“ the piano part has an essential task. Istvan Bonyadi was the perfect partner of Thomas Weinhappel, who collaborated with him and understood wonderfully how to support, complement and continue the moods by his piano playing. On the whole a very successful evening!«
der neue merker, 14.2.2018, Renate Publig
WINTERREISE, Vienna - 2017
Once Franz Schubert had announced the Winterreise to his friends as a "cycle of horrible songs", the baritone fulfills this task masterfully. His enormous claim: he wants to increase "in the audience the empathy for all people who not only physically, but also emotionally feel the freezing cold of winter."
Thomas Weinhappel not only sings Schubert's songs, he lives them. Through his facial expressions and his frugal gestures, he literally becomes this lonely wanderer through the winter night. With his virile baritone, marked by strong charisma, he draws aggressive, almost threatening pictures (Erstarrung, Auf dem Flusse), but sings the „Frühlingstraum“ or „Die Post“ with a luminous, tenor-like coloring and impresses with tender pianissimo („Gute Nacht“, „Der Lindenbaum“, „Die Nebensonnen“). Thomas Weinhappel not only sings Schubert's songs, he lives them.
Through his facial expressions and his frugal gestures, he literally becomes this lonely wanderer through the winter night. With his virile baritone, marked by strong charisma, he draws aggressive, almost threatening pictures (Erstarrung, Auf dem Flusse), but sings the „Frühlingstraum“ or „Die Post“ with a luminous, tenor-like coloring and impresses with tender pianissimo („Gute Nacht“, „Der Lindenbaum“, „Die Nebensonnen“). His dramatic voice also shows all the dynamic shades needed to make audible and perceptible all the nuances of disappointed love from deep sorrow to infinite pain.
At the end there was an endless jubilation for the performing artists. This extraordinary Winterreise will be remembered for a longer time.«IOCO, 31.12.2017, Marcus Haimerl
Schubert's Winterreise in an extravagant version for two violins, viola, cello and baritone came as a big surprise in the last days before Christmas 2017. Sometimes sensitive, sometimes challenging, but always with the highest professionalism the Auner Quartet succeeded in accompanying the tremendous voice of the first Austrian Thalia-Award-winner, Thomas Weinhappel, who is able to impress also in the quietest phrases. Schubert's Winterreise in an extravagant version for two violins, viola, cello and baritone came as a big surprise in the last days before Christmas 2017. Sometimes sensitive, sometimes challenging, but always with the highest professionalism the Auner Quartet succeeded in accompanying the tremendous voice of the first Austrian Thalia-Award-winner, Thomas Weinhappel, who is able to impress also in the quietest phrases.
Allowing himself a brilliancy of his heroic baritone at the right places as in "Auf dem Flusse" or " Erstarrung" and finding the subtlest and most touching piano in the next moment like in "Gute Nacht", in "Lindenbaum" and in "Nebensonnen" Weinhappel was awarded in 2017 with two opera awards: The "Thalia" and the "Libuska". His virile baritone and the excellent Auner Quartet succeeded in presenting a unique and first-class Winterreise to the audience, which had to change from the Old Town Hall to the Ehrbar Hall due to the huge demand for tickets.
The often radiant, sometimes even tenorally colored and sophisticated voice of the young Austrian has innumerable nuances, which he uses sublimely in accordance with word meaning paired with impeccable articulation.
Weinhappel belongs to that small circle of singers who sing the lieder-cycle not only extremely sophisticatedly, unobtrusively and full of honest emotions and, moreover, of course by heart, but also present it with convincing facial expressions and discreet gestures. This gives the listener the impression that no singer, but a terribly suffering person appears in front of him. There can be no doubt that the talented artist with the natural charisma crowned his quest for breathing life into his roles successfully with the Winterreise.
But Weinhappel wants even more: "To arouse in the audience empathy for all people who experience not only physically but also emotionally the icy cold of winter," that was - as he reveals after the Winterreise - one of his aims.
By using his very own fascinating timbre in songs like the "Frühlingstraum", the "Post" or the "Wirtshaus" he succeeded in this task as well. Very affected and at the same time impressed listeners wish to rerun this journey more often with the young musicians.«
der neue merker, 27.12.2017, Roman Holzer
OPERA KISSES LIED, Lörrach, BRD - 2017
After several lieder the duett "Und du wirst mein Gebieter sein" of Arabella (Manser) and Mandryka (Weinhappel) became a highlight of the concert. Both singers convinced the audience with an absolutely brilliant performance. Afterwards Thomas Weinhappel presented the serenade of the title character of the opera "Don Giovanni" masterly.«Die Oberbadische, 16.5.2017, Gottfried Driesch
When Thomas Weinhappel stepped on to the stage the audience was full of expectation: Weinhappel impressed with an outstanding stage presence and satisfied the requirements with vocal brillance and a great acting feat and expressiveness. As an eight years old boy he had his first singing lessons with the Wiener Sängerknaben (Vienna Boys' Choir), today he is recognised as a winner of several international competitions world-wide. ... [recently he had been honoured with the CzechThalia Award and the titel „best opera singer oft he year“]. ... two singers, who inspired the audience with their charme and esprit.« Badische Zeitung, 17.5.2017, Sandra Raith
OPERA KISSES MUSICAL, Lörrach, BRD - 2017
»Thomas Weinhappel’s interpretation of Richard Wagner’s Wolfram („O Thou, My Evening Star“ - Tannhäuser) was in any case both profound and moving. He also stood out with his excellent performance of Petrucchio. Singing impassioned duets Thomas Weinhappel and Heidi Manser provided a truly unique listening pleasure.«Die Oberbadische, 31.5.2016, Ursula König
»Thomas Weinhappel set foot on the stage, his smooth and edgy facial features recall a remembrance of Siegfried the dragon slayer. His attractive appearance complies with his powerful and expressive baritone.»Thomas Weinhappel set foot on the stage, his smooth and edgy facial features recall a remembrance of Siegfried the dragon slayer.
His attractive appearance complies with his powerful and expressive baritone.As an eight years old boy he had his first singing lessons with the Wiener Sängerknaben (Vienna Boys' Choir), today he is recognised as a winner of several international competitions world-wide. ...
With his „Hamlet“ of the Czech national theatre of Ostrava he will be on a world-tour.Weinhappel and Manser convinced the audience not only with their voices but also with a lot of charm and wit. They came into direct access with the audience ...
Using marvelous gestures and mimicry Weinhappel and Manser emphasised their singing with impressive acting. More than once enthusiastic ovations.«Badische Zeitung, 1.6.2016, Sandra Raith
LIEDER RECITAL, Lörrach, BRD - 2013
»The seductiveness of a baritone voice
The Swiss mezzo Eveline Inès Bill and the Viennese baritone Thomas Weinhappel appealed intense emotions in all facets at their Summer Serenade „About love“...
Already in the first part Bill's lyric mezzo and Weinhappel's magnificent baritone pointed out noble vocal beauty … impressing how Weinhappel interpreted an aria of the Requiem of Fauré. ...
In arias and duets ... the two singers with magnificent operatic voices and histrionic temperament were second to none. ...
As womanizer Don Giovanni Weinhappel presented the seductive power of his baritone voice, especially in the beguiling duet with Zerlina „Là ci darem la mano“. … As Papageno the Viennese baritone exuded winning charm.«
Oberbadische Zeitung, 4.9.2013, Roswitha Frey
WINTERREISE, Lörrach, BRD - 2012
»Revolutionary Winterreise
Unique interpretation of Schubert’s Winterreise by Thomas Weinhappel - the audience in the Museumssaal was thrilled by the Viennese opera singer Thomas Weinhappel and Volker Nemmer
Lörrach. Presenting the „Winterreise“ by Franz Schubert the baritone Thomas Weinhappel had chosen one of the most challenging song cycles of the Romantic period. His accompanist Volker Nemmer grew with the singer into an artistic unity. ...
In recent decades numerous recordings of „Winterreise“ had been published, which were mainly obliged to express the beautiful tone and whispering sound of romantic music. Weinhappel struck a new path. He detected the depth of the text in a formidable way and uncovered the subtext for the spellbound listening audience. ...
Using his bright baritone with trouble-free and powerful voice level Thomas Weinhappel was able to make an impressing feature of the disappointment about „Liebchen“. His interpretation of the Lied „Das Wirtshaus“ made your hair stand up on the back of your neck. ...
The sophisticated cooperation of the singer and his accompanist made the evening a genuine cultural experience. … «
Oberbadische Zeitung, 3.4.2012, Gottfried Drietsch